With Sta. Sophia at Constantinople, and the sixth century churches and mosaics at Ravenna, the Christian slope establishes itself in Europe.[10] In the same century it took a downward twist at Constantinople; but in one part of Europe or another the new inspiration continued to manifest itself supremely for more than six hundred years. There were ups and downs, of course, movements and reactions; in some places art was almost always good, in others it was never first-rate; but there was no universal, irreparable depreciation till Norman and Romanesque architecture gave way to Gothic, till twelfth-century sculpture became thirteenth-century figuration.
Christian art preserved its primitive significance for more than half a millennium. Therein I see no marvel. Even ideas and emotions travelled slowly in those days. In one respect, at any rate, trains and steam-boats have fulfilled the predictions of their exploiters—they have made everything move faster: the mistake lies in being quite so positive that this is a blessing. In those dark ages things moved slowly; that is one reason why the new force had not spent itself in six hundred years. Another is that the revelation came to an age that was constantly breaking fresh ground. Always there was a virgin tract at hand to take the seed and raise a lusty crop. Between 500 and 1000 a.d. the population of Europe was fluid. Some new race was always catching the inspiration and feeling and expressing it with primitive sensibility and passion. The last to be infected was one of the finest; and in the eleventh century Norman power and French intelligence produced in the west of Europe a manifestation of the Christian ferment only a little inferior to that which five hundred years earlier had made glorious the East.
Let me insist once again that, when I speak of the Christian ferment or the Christian slope, I am not thinking of dogmatic religion. I am thinking of that religious spirit of which Christianity, with its dogmas and rituals, is one manifestation, Buddhism another. And when I speak of art as a manifestation of the religious spirit I do not mean that art expresses particular religious emotions, much less that it expresses anything theological. I have said that if art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. So, when I speak of Christian art, I mean that this art was one product of that state of enthusiasm of which the Christian Church is another. So far was the new spirit from being a mere ebullition of Christian faith that we find manifestations of it in Mohammedan art; everyone who has seen a photograph of the Mosque of Omar at Jerusalem knows that. The emotional renaissance in Europe was not the wide-spreading of Christian doctrines, but it was through Christian doctrine that Europe came to know of the rediscovery of the emotional significance of the Universe. Christian art is not an expression of specific Christian emotions; but it was only when men had been roused by Christianity that they began to feel the emotions that express themselves in form. It was Christianity that put Europe into that state of emotional turmoil from which sprang Christian art.
For a moment, in the sixth century, the flood of enthusiasm seems to have carried the Eastern world, even the official world, off its feet. But Byzantine officials were no fonder of swimming than others. The men who worked the imperial machine, studied the Alexandrine poets, and dabbled in classical archaeology were not the men to look forward. Only the people, led by the monks, were vaguely, and doubtless stupidly, on the side of emotion and the future. Soon after Justinian's death the Empire began to divide itself into two camps. Appropriately, religious art was the standard of the popular party, and around that standard the battle raged. "No man," said Lord Melbourne, "has more respect for the Christian religion than I; but when it comes to dragging it into private life...." At Constantinople they began dragging religion, and art too, into the sanctity of private capital. Now, no official worth his salt can watch the shadow being recklessly sacrificed to the substance without itching to set the police on somebody; and the vigilance and sagacity of Byzantine civilians has become proverbial. We learn from a letter written by Pope Gregory II to the Emperor Leo, the iconoclast, that men were willing to give their estates for a picture. This, to Pope, Emperor, and Mr. Finlay the historian, was proof enough of appalling demoralisation. For a parallel, I suppose, they recalled the shameful imprudence of the Magdalene. There were people at Constantinople who took art seriously, though in a rather too literary spirit—"dicunt enim artem pictoriam piam esse." This sort of thing had to be stopped. Early in the eighth century began the iconoclast onslaught. The history of that hundred years' war, in which the popular party carried on a spirited and finally successful resistance, does not concern us. One detail, however, is worth noticing. During the iconoclast persecution a new popular art makes its appearance in and about those remote monasteries that were the strongholds of the mystics. Of this art the Chloudof Psalter is the most famous example. Certainly the art of the Chloudof Psalter is not great. A desire to be illustrative generally mars both the drawing and the design. It mars, but does not utterly ruin; in many of the drawings something significant persists. There is, however, always too much realism and too much literature. But neither the realism nor the literature is derived from classical models. The work is essentially original. It is also essentially popular. Indeed, it is something of a party pamphlet; and in one place we see the Emperor and his cabinet doing duty as a conclave of the damned. It would be easy to overrate the artistic value of the Chloudof Psalter, but as a document it is of the highest importance, because it brings out clearly the opposition between the official art of the iconoclasts that leaned on the Hellenistic tradition and borrowed bluntly from Bagdad, and the vital art that drew its inspiration from the Christian movement and transmuted all its borrowing into something new. Side by side with this live art of the Christian movement we shall see a continuous output of work based on the imitation of classical models. Those coarse and dreary objects that crop up more or less frequently in early Byzantine, Merovingian, Carolingian, Ottonian, Romanesque, and early Italian art, are not, however, an inheritance from the iconoclastic period; they are the long shadow thrown across history by the gigantic finger of imperial Rome. The mischief done by the iconoclasts was not irreparable, but it was grave. True to their class, Byzantine officials indulged a taste for furniture, giving thereby an unintentional sting to their attack. Like the grandees of the Classical Renaissance, they degraded art, which is a religion, to upholstery, a menial trade. They patronised craftsmen who looked not into their hearts, but into the past—who from the court of the Kalif brought pretty patterns, and from classical antiquity elegant illusions, to do duty for significant design. They looked to Greece and Rome as did the men of the Renaissance, and, like them, lost in the science of representation the art of creation. In the age of the iconoclasts, modelling—the coarse Roman modelling—begins to bulge and curl luxuriously at Constantinople. The eighth century in the East is a portent of the sixteenth in the West. It is the restoration of materialism with its paramour, obsequious art. The art of the iconoclasts tells us the story of their days; it is descriptive, official, eclectic, historical, plutocratic, palatial, and vulgar. Fortunately, its triumph was partial and ephemeral.
For art was still too vigorous to be strangled by a pack of cultivated mandarins. In the end the mystics triumphed. Under the Regent Theodora (842) the images were finally restored; under the Basilian dynasty (867-1057) and under the Comneni Byzantine art enjoyed a second golden age. And though I cannot rate the best Byzantine art of the ninth, tenth, eleventh, and twelfth centuries quite so high as I rate that of the sixth, I am inclined to hold it superior, not only to anything that was to come, but also to the very finest achievement of the greatest ages of Egypt, Crete, and Greece.
II
GREATNESS AND DECLINE
Having glanced at the beginnings of Christian art, we must not linger over the history of Byzantine. Eastern traders and artisans, pushing into Western Europe from the Adriatic and along the valley of the Rhone, carried with them the ferment. Monks driven out of the East by the iconoclast persecutions found Western Europe Christian and left it religious. The strength of the movement in Europe between 500 and 900 is commonly under-rated. That is partly because its extant monuments are not obvious. Buildings are the things to catch the eye, and, outside Ravenna, there is comparatively little Christian architecture of this period. Also the cultivated, spoon-fed art of the renaissance court of Charlemagne is too often allowed to misrepresent one age and disgust another. Of course the bulk of those opulent knick-knacks manufactured for the Carolingian and Ottonian Emperors, and now to be seen at Aachen, are as beastly as anything else that is made simply to be precious. They reflect German taste at its worst; and, in tracing the line, or estimating the value, of the Christian slope it is prudent to overlook even the best of Teutonic effort.[11] For the bulk of it is not primitive or mediaeval or renaissance art, but German art. At any rate it is a manifestation of national character rather than of aesthetic inspiration. Most aesthetic creation bears the mark of nationality; very few manifestations of German nationality bear a trace of aesthetic creation. The differences between the treasures of Aachen, early German architecture, fifteenth-century German sculpture, and the work produced to-day at Munich are superficial. Almost all is profoundly German, and nothing else. That is to say, it is conscientious, rightly intentioned, excessively able, and lacking in just that which distinguishes a work of art from everything else in the world. The inspiration and sensibility of the dark ages can be felt most surely and most easily in the works of minor art produced in France and Italy.[12] In Italy, however, there is enough architecture to prove up to the hilt, were further proof required, that the spirit was vigorous. It is the age of what Sig. Rivoira calls Pre-Lombardic Architecture—Italian Byzantine: it is the age of the Byzantine school of painting at Rome.[13]
What the "Barbarians" did, indirectly, for art cannot be over-estimated. They almost extinguished the tradition of culture, they began to destroy the bogey of imperialism, they cleaned the slate. They were able to provide new bottles for the new wine. Artists can scarcely repress their envy when they hear that academic painters and masters were sold into slavery by the score. The Barbarians handed on the torch and wrought marvels in its light. But in those days men were too busy fighting and ploughing and praying to have much time for anything else. Material needs absorbed their energies without fattening them; their spiritual appetite was ferocious, but they had a live religion as well as a live art to satisfy it. It is supposed that in the dark ages insecurity and want reduced humanity to something little better than bestiality. To this their art alone gives the lie, and there is other evidence. If turbulence and insecurity could reduce people to bestiality, surely the Italians of the ninth century were the men to roar and bleat. Constantly harassed by Saracens, Hungarians, Greeks, French, and every sort of German, they had none of those encouragements to labour and create which in the vast security of the pax Romana and the pax Britannica have borne such glorious fruits of private virtue and public magnificence. Yet in 898 Hungarian scouts report that northern Italy is thickly populated and full of fortified towns.[14] At the sack of Parma (924) forty-four churches were burnt, and these churches were certainly more like Santa Maria di Pomposa or San Pietro at Toscanella than the Colosseum or the Royal Courts of Justice. That the artistic output of the dark ages was to some extent limited by its poverty is not to be doubted; nevertheless, more first-rate art was produced in Europe between the years 500 and 900 than was produced in the same countries between 1450 and 1850.